“One day of life as a Tiger is far better than thousand years of living as a Sheep” – Tipu Sultan, 1799

Known as The Tiger of Mysore, Tipu Sultan rules his Indian kingdom with a passion and ferocity only otherwise found in the tiger’s lair. His throne sits upon two wooden tigers, his weaponry and artillery are artfully sculpted to represent the tiger’s fearsome face, and his soldier’s armour is emblazoned with the bold ‘bubris’ shape of the tiger’s vivid stripes. His love of the tiger and his hatred of the British come together in one astonishing piece of
ornamentation: a mechanical tiger commissioned for his palace, simulating the gruesome death of a British soldier.

It is the late eighteenth century, and the Colonial British are invading Tipu Sultan’s princely state, storming his palaces and looting his riches. As The East India Company advances, Tipu Sultan rallies his troops from the furthest corners of his jewelled kingdom. He summons the majestic cats from the jungles, he calls the birds from the skies, and he releases the hounds from the kennels. To prepare them for battle, Tipu adorns his soldiers in the finest armour, beaten from Indian gold and jewelled with rubies and emeralds. Each helmet is carefully embroidered with ornate stitching, and each back is emblazoned with the tiger’s fearful stripes.

Set before the Palace, the residents of the ornate gardens are ready and waiting. Tension is high, and the creatures are agitated. The black panther is magnificent in his golden bubris, and his shining armour attracts the attention of many, though they must proceed with caution; he is not one to be reckoned with.

The pheasants soar over the treetops, they call their battle cry to the creatures below. The spotted feathers of the Lady Amherst’s Pheasant catch the sun as she flies, a golden dagger clutched in her delicate feet. The Temminck’s Tragopan Pheasant swoops just below her, his cobalt blue ‘horns’ glowing, and flying across them both, the Golden Pheasant ascends with his tiger-striped tail feathers streaking metallic brushstrokes as he flies. The pheasants are carrying glistening weaponry from Tipu Sultan’s magnificent armoury; the hilts are sculpted into tigers and set with precious jewels.

In the ornamented kennels, the atmosphere is calmer; the dogs know their duty and are focused, ready to serve their master. Over the years, flowers have grown around the delicate stonework, allowing smaller creatures to make their homes in the kennel alcoves, and now they benefit from the strong and confident atmosphere around them. The dogs pace back and forth, running through the orders in their heads, ready to move as a pack when the time comes.

As the invaders finally break through the city walls, they are met by an army of ‘tigers’, leaping from the parapets and swooping overhead. His soldiers advise Tipu Sultan to escape from secret passages and live to fight another day, but to their astonishment he replies, "One day of life as a Tiger is far better than thousand years of living as a Sheep". Tipu Sultan died defending his capital on 4 May 1799.

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Inspiration

Based around the final days of Tipu Sultan (1751 – 1799) this collection was inspired by the incredible artistry of the objects, weaponry and armour created for ‘The Tiger of Mysore’, alongside a broad range of influences across ancient Indian and Mughal culture. Tipu Sultan earned his nickname after adopting the tiger as the symbol of his rule. He emblazoned this emblem on his flags, banners and armour, engraving metal surfaces with the distinctive ‘bubris’ tiger stripe motif. This tale is set around the fateful Siege of Seringapatam, the final days of the ferocious leader. Upon Tipu Sultan’s death at the hands of The East India Company, Benjamin Sydenham described his face thus; ‘He had large full eyes, with small arched eyebrows and very small whiskers’, which seems a very fitting appearance for one so enamoured with tigers. This collection also references The Tree of Life, an archetype in artworks of many religions and cultures. In India, the Tree of Life is often represented as The Banyan tree, which gives shelter to many different kinds of animals and birds, which represent India and its people from different races, religions and castes. References to techniques such as Kalamkari, block printing and Mughal flower motifs all feature in the collection, as do composition and painted border elements from Mughal folio pages, which often had their central feature offset. There is just one hidden tiger illustrated in this entire collection, aside from all the tiger motifs and treasures. The mechanical ornament, ‘Tipu’s Tiger’, is part of the permanent collection at London’s Victoria and Albert Museum, while the remainder of Tipu Sultan’s riches have been returned to Mysore.

Process

View the collection illustrations in progress, and see how the drawings transform into detailed and intricate scarf designs. Sabina creates a story for each collection, as shown below, which is then illustrated and narrated through her elaborate handiwork.

The Campaign

Welcome to our our Autumn / Winter 2017 Campaign, The Sultan’s Soldiers.

Shop the Collection

A range of beautiful fabrics are available for each design, from classic silk twill to our sumptuous signature wool and silk blend. Each piece is printed and hand finished by artisans in the UK.

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